I have erect the new studio flash - which is a simple, cheap studio flash (110 €) with all the essentials a studio flash should have. The material is slightly inferior to what i am used from Elinchrom's entry models. But as long as it works, I am pleased. Since this studio flash only performs 200 Ws compared to my Elinchrom ones with 400 Ws, it works at lower light levels. But that is not a bad thing - on the contrary. In a relatively small room you do not want to have too strong studio flashes !!!

This flash can be used as a cool-remaining spot light flash for the background (due to that it uses LED as modeling light), or as a weaker flash when needed.

Snoot + blue gel = pretty weak light

With a blue gel, the flash appears pretty weak in my opinion - but i can address this via the distance between flash and background. Or in other ways I have not fully figured out yet.

Back in the days (80s and 90s) i had only primitive Multiblitz Minilite studio flashes (they are now in Adrano, Sicily in storage). Those had only 2 settings: FULL and HALF. And that was it.

In order to model the strength of the light, i had to use distance or/and black semi transparent fabrics, or different light utilities (bouncers, light boxes, umbrellas, etc). You just try what works so that there is enough light, or when there is too much - you reduce it in various ways (dependent on what aperture you use on your lens). It alls depends.

Today's entry models are a lot more flexible

However, today's studio lights often have variable strength: You can usually vary it up to 5 stops ( 1/1 to 1/32 or even 1/64). All my flashes have 5 stops.

Professional models have an even wider range. But i think, that studio flashes in a normal room do not need to be strong nor super sophisticated. Just all the essentials.

Unless of course you have a huge studio... Then you need plenty of light. Also when you work with 4x5" or 8x10" largeformat cameras as studio cameras. Here you often work with apertures around ƒ13 to ƒ22 (sometimes even more), which is a total different ballpark in term of light power required.

Digital cameras and modern lenses, need generally perhaps the least of flash light strength, because they are so sharp and can be used wide open as well. Mostly, you don't need to stop them down a lot (unless it is required for deeper depth of sharpness).

Film based studio cameras (Mamiya C330s, Mamya RZ67, RB67, Pentax 67) require often more light, as you mostly use apertures around ƒ8-11 (at which mediumformat lenses perform their best) - it then also requires more light.

Happy !

So - overall - i am happy with the new Gordox 200 studio flash. The price was a steal ! It is a totally entry model, but as i mentioned before, it has all the necessary settings required to act like a classic studio flash.

Wireless x2

I actually managed with help of transmitters & receivers not only to use studio flashes wirelessly, but also made another device possible to trigger the shutter of the Fujifilm GFX 50s II wirelessly (albeit it is a Canon device, but they share the same plug). And it worked !!

Very nice.

Wireless Experimentations now possible

It means I can do self portraits, as well. Not because I have the necessary beauty - I don't - but I do like to experiment. And there are colors one can smear into the face and do further experimentation. That way I am not so dependent on Sal as a model - because, you have to consider that he isn't always available. In essence ONLY when he and I are off at the same evening ! And me not sleeping !!!

OK. First (Self) portrait test

Boy, is it DIFFICULT to get myself into the right position in the frame. Many of the photos I made, my head is partially outside of the frame *LOL* I didn't prepare myself at all. Hair is weird (it really is), and I have not been to the shoer - and my home clothes i wear are worn. *gacker-gacker* totally out of place. But - it could have been worse. (Some images were indeed pretty aweful).

'The main photo above - was actually pretty nice for an almost 60-year old.

Different Lighting

I didn't use the beauty-dish reflector with honeycomb grid installed (which I used for Sal's lighting). Instead i only used a longish soft-box coming from (almost) above. And the blue spotlight flash in the background.

The spotlight remains cool

Yes, it does NOT get hot - due to that the modeling light is based on a 10W LED. Snoots normally act like a heating chamber, where studio modeling lights often are based on 100W light bulbs or 75-150W halogen light bulbs. Imagine the heat those studio flashes generate ! Then you put those into a small cone chamber... Make the math. You often have to switch the model light off after a couple of minutes.

Ah - what a wonderful thing that the flash remains cool !!!!

The other issue (focus)

is to place oneself into the very narrow focus zone. (but it is fun and easy with a digital camera, since you can do so many images, try many times, while experimenting along the road). No harm done.

I use a primitive, very small lighting tripod as a "helper" - to place myself into the correct focus. Then i try to align my head (eyes) into the same position relative to the camera focus distance - while the tripod stands (of course) outside of the frame. It acts like a guide.

Positioning however was the most difficult. The blue spotlight flash, was actually pretty weak. Perhaps i should color the black metal cone inside white (instead of leaving it black). I have some ideas how i can increase the light output for colored "spot" towards the background. It will be needed, if i ever need let's say apertures around ƒ 11 - then the spotlight will be too weak. So, i need to come up with a better solution.

But first i test everything further.